FRAMES CINEMA

Author: Frames Cinema

Ghostbusters: Frozen Empire – Trailer del quarto capitolo

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Come promesso, ha debuttato sui canali online di Sony e Columbia Pictures il trailer del nuovo film di Ghostbusters, di cui è stato rivelato anche il titolo: Frozen Empire in originale, tradotto come Minaccia glaciale in italiano, in uscita al cinema nel 2024.

Ed è proprio un calo di temperatura soprannaturale chiamato “Death Chill” quello che tramuta la paura stessa in una coltre di ghiaccio e congela le persone fino alla morte minacciando la calda estate di New York City nel trailer. Nel teaser che si apre sulle note di Cruel Summer delle Bananarama, l’Acchiappafantasmi veterano Dan Aykroyd spiega che questa forza ha il potere di spezzare le ossa e trasformare le vene in fiumi di ghiaccio.

Il nuovo film riparte dove ci aveva lasciato il precedente Ghostbusters: Legacy nel 2021, con la famiglia Spengler (figlia e nipoti di Egon, l’Acchiappafantasmi originale interpretato dal compianto Harold Ramis) che, dopo aver salvato una cittadina rurale dalla minaccia di un antico demone, si sposta per questa nuova avventura a New York City, teatro delle avventure dei due film originali degli anni ’80 (il revival al femminile diretto da Paul Feig uscito nel 2016 è da considerarsi fuori dal canone).

La sinossi recita: “In Ghostbusters: Minaccia Glaciale, la famiglia Spengler torna dove tutto è iniziato, l’iconica caserma dei pompieri di New York, e si unisce agli Acchiappafantasmi originali che hanno sviluppato un laboratorio di ricerca top-secret per portare la lotta ai fantasmi a un livello superiore. Quando la scoperta di un antico artefatto scatenerà una forza malvagia, i vecchi e nuovi Ghostbusters dovranno unire le forze per proteggere la loro casa e salvare il mondo da una seconda era glaciale.”

Nel cast tornano da Ghostusters: Legacy i fratelli Spengler interpretati da Mckenna Grace e Finn Wolfhard (Mike di Stranger Things), con gli amici (Celeste O’Connor e Logan Kim), la madre impersonata da Carrie Coon e lo strambo professore con il volto di Paul Rudd. Si riuniranno nuovamente a loro gli Acchiappafantasmi originali Bill Murray, Dan Aykroyd ed Ernie Hudson, oltre che due new entry, gli attori Kumail Nanjiani e Patton Oswalt. Completano il cast il comico britannico James Acaster ed Emily Alyn Lind. Ad aprile 2023 è stato fotografato sul set anche William Atherton, il cinico e prepotente agente Walther Peck del primo Ghostbusters. Alla fine saranno in scena ben tre generazioni di Ghostbusters per affrontare la nuova minaccia.

Ghostbusters: Minaccia Glaciale è diretto da Gil Kenan, anche sceneggiatore insieme a Jason Reitman, già autori di Ghostbusters: Legacy. Jason Reitman è stato anche regista del film precedente, così come suo padre Ivan Reitman era stato regista dei due Ghostbusters degli anni ’80 e di molti altri cult come I gemelli, Junior e Amici, amanti e….

Ghostbusters: Minaccia Glaciale uscirà nei cinema di tutto il mondo a marzo 2024.

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Enrico Borghesio,
Redattore.

November 9, 2023
Recensione Gen V – Quando l’allievo supera il maestro

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In un mondo di The Flash (Andy Muschietti, 2023) e di Ant-Man And The Wasp: Quantumania (Peyton Reed, 2023), la produzione originale Amazon The Boys è di certo stata come un fulmine a ciel sereno. Una serie tv capace di prendere il materiale d’origine a fumetti e di traslarlo sul piccolo schermo con una visione ben chiara in testa: ironizzare e criticare il grande mondo dei supereroi andando a mettere in scena una satira piena di sangue e volgarità. Non sorprende quindi che sia finita fin da subito tra le serie più apprezzate e chiacchierate da un pubblico cresciuto a pane e Game Of Thrones. Dopo uno spin-off animato con episodi antologici a fare da piccolo contentino tra la seconda e la terza stagione, l’annuncio di un’altra serie ambientata nell’universo di The Boys divise il pubblico a metà: chi la attendeva voracemente con un hype alle stelle e chi invece si chiedeva se questa operazione non avrebbe fatto cadere la produzione nella grande trappola che tanto avevano fino a quel momento criticato. Fortunatamente, ancora una volta, gli sceneggiatori ed i produttori sapevano dove mettere le mani ed hanno sfornato qualcosa di davvero straordinario.

Benvenuti a scuola

Nel mondo dei supereroi, le scuole non sono certo un ambiente sconosciuto. Su tutte capeggia senza dubbio lo Xavier Institute, la famosa scuola per mutanti del mondo degli X-Men. Proprio da quel mondo Garth Ennis crea nei suoi fumetti la parodica Godolkin Mansion in cui vivono i G-Men, palesemente ispirati ai mutanti di casa Marvel ma capaci di gesta davvero raccapriccianti. Per il loro spin-off gli sceneggiatori hanno deciso di pescare a piene mani dall’arco narrativo che li riguarda e riscrivere diversi elementi per adattarli allo stile televisivo ed alla storia che avevano intenzione di raccontare. I fan del fumetto trovano quindi in Gen V ben più di una citazione al materiale di origine ma con una storia completamente diversa, con l’obiettivo di mettere in scena un “teen drama alla The Boys”.

Questo intento è chiaro già dalla caratterizzazione dei protagonisti: un gruppo di giovani ragazzi che frequentano la Godolkin University – o God U come verrà con non poco sarcasmo chiamata in più di un’occasione – con classi da frequentare ed una vita all’interno di un vero e proprio college in stile americano, in cui però i corsi spaziano da “branding del proprio eroe” a corsi di recitazione per reality o serie tv fino all’ambito “combattimento del crimine”.

Ognuno di loro è ovviamente dotato di superpoteri, tutti più o meno ispirati a personaggi già esistenti nell’immaginario collettivo – Marie con i suoi poteri del sangue ricorda non poco Skarlet di Mortal Kombat, Emma fa il vero ad Ant-Man come Andre a Magneto e Cate a Jean Grey – tutti spesso legati ad importanti tematiche del mondo dei giovani – esempi ne sono l’autolesionismo per Marie, la bulimia con Emma costretta a vomitare per rimpicciolire o il cambiare sesso di Jordan con annessi poteri differenti legati al genere e che porta alla ribalta potenti riflessioni sulle identità di genere – ed alle quali la serie relega un ruolo tutt’altro che secondario. Forti sono anche i vari rimandi alla cultura pop e alla Gen Z, riempiendo la serie di battute legate al mondo dei social e costruendo una campagna marketing davvero solidissima e di grande impatto – non dimentichiamo il sito che permetteva di esplorare le aree della God U come se il campus esistesse davvero. Tutto questo mentre la serie porta avanti una narrazione piena di colpi di scena, di dialoghi ben scritti e di sequenze d’azione veramente spettacolari, tanto da far brillare questo spin-off più di quanto non faccia la serie originale.

Ai giovani protagonisti si associano anche personaggi storici della serie che tornano in ruoli tutt’altro che secondari, come Victoria Newman o Ashley Barrett, ed altri grandi nomi del fumetto che fanno qui la loro prima comparsa – su tutti il grande Tek Knight, qui riscritto e reso ancora più spettacolare ed irriverente che nel fumetto -, creando veramente l’idea di un universo interconnesso in cui le azioni della serie principale si riversano in questo spin-off e viceversa, con un finale di stagione che chiaramente lascia intendere un prosieguo delle vicende direttamente nella quarta stagione di The Boys – oltre che nella già annunciata seconda stagione di Gen V.

Conclusioni

Sbaragliando tutte le aspettative, Gen V dimostra come il team dietro al mondo di The Boys abbia le idee ben chiare su cosa vogliono mettere in scena e come. Nel passaggio dalla serie principale a questa infatti non si è perso un minimo di quello spirito che aveva fatto innamorare i fan, arrivando anzi in alcuni momenti a mostrare una costruzione più solida e chiara di quanto fatto con la terza stagione della serie principale. Tanto sangue ma anche tante tematiche importanti relegano quindi facilmente Gen V nell’Olimpo delle serie tv supereroistiche del momento, dimostrando ancora una volta ai vari competitor come si costruisce una vera serie tv sui supereroi.

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Mattia Bianconi,
Redattore.

November 6, 2023
Trailer di Kingdom of the Planet of the Apes

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20th Century Studios ha rilasciato il teaser trailer del nuovo film sulla saga del Pianeta delle Scimmie, il quarto della trilogia reboot-prequel avviata nel 2011. Kingdom of the Planet of the Apes uscirà negli Stati Uniti nel 2024, a distanza di sette anni dal capitolo precedente.

Prosegue la storia della colonizzazione della Terra da parte delle scimmie, scenario del cult originale del 1968. Dopo L’alba del pianeta delle scimmie (2011), Apes Revolution – Il pianeta delle scimmie (2014) e The War – Il pianeta delle scimmie (2017), il clan della prima scimmia intelligente Cesare ha ormai sopraffatto l’umanità.

Il protagonista del nuovo film è Cornelius, il figlio del leggendario leader Cesare, che conserva in maniera inconscia dei ricordi del mondo precedente: ora gli umani sono diventati esseri non intelligenti simili a selvaggi e la loro civiltà è ridotta a relitti infestati dalla natura. Ma sembra che Cornelius dovrà scontrarsi con nuove faide e lotte interne.

Kingdom of the Planet of the Apes è il decimo film del franchise, dopo le cinque pellicole originali uscire tra il 1968 e il 1973, il remake di Tim Burton del 2001 e la trilogia sopracitata diretta da Rupert Wyatt e da Matt Reeves.

Alla regia del nuovo Regno del Pianeta delle Scimmie c’è Wes Ball (Maze Runner), e il protagonista sarà interpretato da Owen Teague (It 1 e 2); nel cast anche Freya Allan e Peter Macon. Debutterà negli Stati Uniti il 24 maggio 2024.

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Edoardo Borghesio,
Redattore.

November 3, 2023
Eden – Vanessa Kirby e Sydney Sweeney si uniscono al cast del nuovo film di Ron Howard

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Due new entry nel cast di Eden, il nuovo thriller di Ron Howard: Vanessa Kirby e Sydney Sweeney andranno infatti a sostituire Alicia Vikander e Daisy Edgar-Jones affiancando i già confermati Jude Law, Daniel Brühl e Ana De Armas.

La produzione di Eden, precedentemente intitolato Origin of Species, dovrebbe cominciare a fine novembre in Australia, affiancata da una piccola unità che girerà alle Galapagos, dove si svolgerà anche la storia. Essendo prodotto dalla Imagine Entertainment di Ron Howard, Eden potrà essere girato nonostante lo sciopero SAG-AFTRA ancora in corso.

Le musiche del film saranno composte da Hans Zimmer, alla sua decima collaborazione col regista. La sceneggiatura è basata su due resoconti diversi della stessa storia realmente accaduta ed è stata scritta dallo stesso Howard insieme a Noah Pink, già autore del thriller Tetris.

Il thriller racconterà di un mistero irrisolto, avvenuto nelle isole Galapagos, che Ron Howard sperava di raccontare ormai da quindici anni. Protagonista di questo racconto “cupamente comico di omicidio e sopravvivenza” è un gruppo eclettico di uomini, che decide di abbandonare la civiltà e di trasferirsi alle Galapagos, per provare a dare una risposta alla domanda che affligge da millenni l’intera umanità: qual è il senso della vita?

Al momento non sono ancora noti i motivi dietro la sostituzione di Alicia Vikander e Daisy Edgar-Jones, ma è probabile che siano sorti alcuni conflitti di programmazione. La prima ha infatti in cantiere due progetti, il thriller coreano Hope insieme al marito Michael Fassbender e lo sci-fi The Assessment, mentre la seconda è fra i protagonisti di uno dei lungometraggi bloccati dallo sciopero degli attori, il disaster movie Twisters, reboot di Twister.

Sydney Sweeney, dal canto suo, ha molti progetti in sviluppo o di prossima uscita, tra cui il cinecomic Marvel/Sony Madame Web, il remake di Barbarella e l’horror Immaculate girato in Italia. La giovane star di Euphoria e The White Lotus sarà poi al cinema a gennaio con la rom-com Tutti tranne te in cui è protagonista insieme a Glen Powell (Top Gun: Maverick).

Vanessa Kirby è invece apparsa quest’anno in Mission: Impossible – Dead Reckoning (Parte Uno) e sarà protagonista insieme a Joaquin Phoenix di Napoleon di Ridley Scott, in sala dal 23 novembre. Secondo alcuni rumor sembrerebbe anche in lizza per interpretare Sue Storm nel prossimo film dei Fantastici Quattro dei Marvel Studios, raccogliendo quindi il ruolo già interpretato da Jessica Alba e Kate Mara negli adattamenti del 2005 e 2014.

Come accennato, le due attrici andranno ad affiancare Jude Law, Ana De Armas e Daniel Brühl, che torna a collaborare con Ron Howard dopo il biopic Rush, in cui ha interpretato il pilota Niki Lauda. Eden sarà l’ennesima storia vera adattata dal regista: l’ultima era stata l’apprezzato Tredici vite del 2022 con Viggo Mortensen e Colin Farrell, a proposito dei tentativi di salvataggio di una squadra di calcio di una scuola thailandese rimasta intrappolata in una serie di caverne sotterranee.

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Enrico Borghesio,
Redattore news.

November 1, 2023
Recensione Comandante – L’epopea marittima del capitano Todaro

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Comandante è il quinto lungometraggio portato a compimento da Edoardo De Angelis in appena dodici anni, giovane regista italiano che si è aggiudicato il premio per la Miglior sceneggiatura originale ai David di Donatello del 2017 grazie a Indivisibili, mentre l’ultima fatica, Il vizio della speranza, gli è valsa il Premio del pubblico BNL alla Festa del Cinema di Roma del 2018.

Sostituendo Challengers di Luca Guadagnino – che non parteciperà alla Mostra per decisioni della produzione a seguito dello sciopero indetto il 13 luglio dal sindacato degli attori americani Sag-Aftra – il film con protagonista Pierfrancesco Favino è il nuovo film d’apertura della 80. Mostra Internazionale d’Arte Cinematografica di Venezia, dove viene presentato in Concorso.

Pierfrancesco Favino nei panni del capitano Salvatore Todaro

Una guerra intimista

16 ottobre 1940: il capitano Salvatore Todaro è al comando del sommergibile Comandante Cappellini. Dopo essere stata colpita dai colpi di un piroscafo mercantile belga, la flotta italiana lo affonda a largo dell’Atlantico. Todaro deciderà di salvare i 26 naufraghi belgi e di esporsi al fuoco nemico navigando in emersione per tre giorni e, di conseguenza, rischiando la vita.

Inserendosi nel filone sommergibilista di film come Caccia a ottobre rosso di John McTiernan o il fluviale Das Boot di Wolfgang Petersen, Comandante decide di intraprendere una strada più intimista rifuggendo la spettacolarizzazione del conflitto bellico. Anzi, escluso l’affondamento della flotta belga non c’è traccia della guerra perché il conflitto è umano, scegliere se tendere la mano al nemico o se lasciarlo in balia delle onde dell’Atlantico. De Angelis tenta di sfruttare gli angusti spazi del sommergibile al servizio della Regia Marina come spazio di riflessione per un messaggio umanista e solidarista che vada contro quell’eroismo barbaro citato dallo stesso Todaro nelle lettere alla moglie Rina (“Il soldato che vince non è mai così grande come quando si inchina al soldato vinto: oggi noi e i nostri nemici, insieme, ci siamo salvati”).

Sorge quasi il dubbio, all’inizio, che il sommergibile Comandante Cappellini non emani un’aura sacra: “non si può mai sapere” ripete Favino prima di immergersi ai suoi sottoposti, uno ad uno, proprio come fosse un sacerdote, come se la preparazione alla tratta marittima e il monito di poter non tornare vivi avesse carattere liturgico. Una liturgia frenata da un monito duro e secco del capitano (“Chi piange lo butto in mare!”) che gioca ovviamente con il suo cambiamento successivo e la scelta di salvare la flotta belga, disobbedendo alle leggi militariste imposte dal regime fascista

Lo scontro con il piroscafo mercantile belga

Favino – ora in scena con accento veneto dopo aver recitato con accento mediorientale in Nostalgia di Martone – interpreta con il suo solito e grande carisma un personaggio dotato di una forza d’animo tale da preferire l’etica alle spietate norme belliche e qui arriva, ovviamente, l’elefante nella stanza: le domande in conferenza stampa hanno subito fatto riferimento a quanto sta accadendo ora, probabilmente proprio in questo momento, nel Mar Mediterraneo; l’analogia con la questione porti aperti? o porti chiusi? è lapalissiana, ma il film ha la forza in grado di soddisfare tutte le premesse e di mantenere le altrettante promesse?

Premesse e promesse

E’ vero che, per chi desidera trovarlo, non è difficile individuare il nesso con la questione migratoria contemporanea, ma se si va a fondo della sceneggiatura di Comandante emerge che, in realtà, il legame è esclusivamente extratestuale e abbastanza forzato: il film non pare avere una scrittura in grado di reggere sulle spalle una tematica di tale portata dal momento che, nonostante 120 minuti a disposizione, né la flotta italiana né quella belga sono mai indagate a fondo (per non parlare del fatto che nel film i primi ad attaccare sono i belga, che sarebbero invece dovuti restare neutrali nel conflitto mondiale, come sottolineato da Todaro); il rischio di scadere nella retorica degli “italiani brava gente” è concreto (“Siamo italiani!” esclama fieramente il capitano), ed è un peccato che non si sia riusciti ad approfondire la psicologia dei personaggi. Allo scorrere dei titoli di coda si ha la sensazione di non sapere quasi niente dei protagonisti, a partire dai loro rapporti con le rispettive mogli, indagati a inizio film (per non dire appena accennati) e mai più ripresi. Era interessante anche vedere come sarebbe stato portato avanti il tema del costante isolamento a cui sono obbligati i marinai, sempre pedinati dal rischio di morire in mare con conseguente oblio dei loro corpi sepolti sotto la sabbia; in effetti, forse, questa fobia degli uomini di mare è l’argomento che emerge di più dallo script di Carmine Guarino (lodevole la scelta di non lesinare nemmeno visivamente sulla loro sofferenza fisica), sebbene l’onnipresente voice over che ha l’intento di fare emergere i loro pensieri toglie potenza poetica alle sequenze più tese, dove il completo silenzio interrotto soltanto dal frangersi delle onde del mare avrebbe suggerito ancora di più il clima paradossalmente claustrofobico e di segregazione a cui li costringe il mare aperto.

L’interno del sommergibile Comandante Cappellini

Fa riflettere, inoltre, che in un film che affronta con tono solenne e con passo austero questioni tanto spinose anche per il contemporaneo, le parti capaci di solleticare per pochi minuti le emozioni degli spettatori siano quelle comedy, in particolare quelle che coinvolgono il cuoco della flotta (ma più in generale tutta la parte culinaria: c’è un divertente sipario dove protagoniste sono le patatine fritte belga).

De Angelis è dotato di buonissima tecnica e la direzione degli attori è ottima, ma il sottotesto del film risulta essere abbastanza banale, scarno di riflessioni e mai affrontato col mordente di penna necessario ad avviare per davvero una riflessione sensata sull’approccio umanista e solidarista del capitano.

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Alberto Faggiotto,
Caporedattore.

November 1, 2023
Live #49: La saga di Saw – Tier List

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Alberto, Mattia e Renata analizzano l’intera saga horror di Saw, da poco al cinema con il decimo capitolo, e ne fanno una speciale classifica!

Buona visione!

Potete seguirci qui: https://linktr.ee/framescinema

Seguiteci su Youtube e Twitch per non perdervi le prossime Live!

October 30, 2023
Il mondo dietro di te – Trailer del nuovo film di Sam Esmail

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Netflix ha recentemente rilasciato il trailer di Il mondo dietro di te (Leave the world behind), il nuovo film di Sam Esmail con Julia Roberts, Ethan Hawke, Mahershala Ali e Kevin Bacon.

Il regista statunitense, noto per aver diretto Mocking Bird – In diretta dall’inferno e ideato la fortunata serie Mr. Robot, questa volta ha scelto un thriller apocalittico, basato sul romanzo omonimo di Rumaan Alam, finalista ai National Book Awards nel 2020.

Le sequenze che troviamo nel trailer ci trasportano nell’universo di una famiglia come tante, costretta a fronteggiare una situazione molto difficile.

Amanda (Julia Roberts) e suo marito Clay (Ethan Hawke) decidono di trascorrere qualche giorno in vacanza in una villa insieme ai loro due figli (Charlie Evans e Farrah Mackenzie). Durante la notte ricevono la vista di G.H. (Mahershala Ali) e di sua figlia Ruth (Myha’la), che li informano di un imminente cyber-attacco e sostengono di essere i proprietari della casa in cui loro stanno soggiornando. Le due famiglie si ritrovano a condividere un momento di grande tensione, cercando di fronteggiare un mondo prossimo alla distruzione.

Il film è prodotto da Esmail Corp e Red Om Films (Sam Esmail, Chad Hamilton, Julia Roberts, Marisa Yeres Gill e Lisa Gillan) e la produzione esecutiva è di Higher Ground Productions (Barack e Michelle Obama, Tonia Davis, Daniel M. Stillman, Nick Krishnamurthy e Rumaan Alam).

Le musiche sono state affidate a Mac Quayle, i costumi sono di Catherine Marie Thomas, il montaggio di Lisa Lassek, le scenografie di Anastasia White e la direzione della fotografia di Tod Campbell. Sarà possibile vedere Il mondo dietro di te dall’8 dicembre su Netflix.

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Maria Cagnazzo,
Redattrice.

October 26, 2023
Damien Chazelle a Torino

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«Grazie Torino, grazie Italia. Sono felice di essere tornato qui, in questa città che ho visitato tanti anni fa quando presentai il mio film d’esordio. Probabilmente, questo è il primo luogo in cui ho pensato: “Bene! Forse posso davvero farcela”». Dopo Kevin Spacey e Tim Burton, un nuovo visionario cineasta ha messo piede a Torino per uno degli incontri più attesi e prestigiosi di sempre. Martedì 24 ottobre Damien Chazelle è stato ospite del Museo del Cinema, dove ha tenuto una masterclass ed è stato insignito del premio Stella della Mole.

Il giovane regista ha dialogato con il Direttore del Museo Domenico De Gaetano e con la critica Grazia Paganelli riguardo a quelle fortunate imprese cinematografiche e opere meticolosamente realizzate che hanno dato il via a un tripudio di sperimentazione e innovazione, dal pluripremiato Whiplash a un musical rivoluzionario come La La Land e all’intensa biopic First Man. Il fastoso dramedy sul passaggio del cinema dal muto al sonoro Babylon, la sua ultima fatica, è stato proiettato al termine della giornata al Cinema Massimo introdotto dal regista ad una platea sold out.

Ritorno a Torino

Damien Chazelle presentò per la prima volta il suo film Guy and Madeline on a Park Bench proprio al Torino Film Festival nel 2009, e fu premiato con il Premio Speciale della Giuria. Il regista ricorda «Il mio era un piccolo film e quasi tutti lo rifiutarono. Probabilmente il TFF fu il primo festival europeo che mi accolse. Ovviamente non ero mai stato a Torino e ricordo l’intera avventura come nuova ed emozionante». Il Direttore Domenico De Gaetano invece esplicita (dal sito del Museo) che «Sin dal suo sorprendente esordio alla regia, Damien Chazelle ha messo in mostra il precoce talento e il suo approccio visionario allo storytelling, esplorando narrazioni innovative e trasportando gli spettatori in un viaggio toccante e coinvolgente».

La Stella della Mole, infatti, è stata consegnata con la seguente motivazione: «Enfant prodige di Hollywood, con il suo precoce talento e il suo approccio innovativo allo storytelling, Damien Chazelle ha superato i confini dei generi tradizionali e creato spettacoli cinematografici di grande impatto visivo e musicale. Trasformando in pura energia storie di personaggi ambiziosi desiderosi di misurarsi con i propri limiti o di perseguire i propri sogni, i suoi film sono la più moderna dichiarazione d’amore per la storia del cinema».

La masterclass

Protagonisti della masterclass sono stati i suoi film e i temi portanti del perfezionismo, l’ambizione, la dedizione, le difficoltà e le sfide che conseguono al raggiungimento del successo. Chazelle sfoglia la propria filmografia scandita da video e domande di De Gaetano e Paganelli: «Leggerezza e malinconia nel mio cinema? Vanno di pari passo. E io ho sempre temuto un piede nella realtà e un altro in un romantico passato. Inoltre, molto spesso i miei film sono sospesi tra realtà e mito. Questo terreno in passato l’ho frequentato inconsapevolmente ma credo mi appartenga nell’intimo».

«La mia esperienza personale è molto simile a quella del mio protagonista. — ammette Chazelle in riferimento al suo primo cult Whiplash — Quando ho cominciato a suonare l’ho fatto per passione, ma devi saper accettare la sofferenza come prezzo per maturare. È come se prima di diventare farfalla tu debba spezzarti le ossa. Almeno nella musica, non sono mai arrivato a essere farfalla purtroppo». Altro carattere fondamentale del cinema di Chazelle è il ritmo: «Anche i miei dialoghi cercano di replicare una partitura musicale. Anzi, ancor prima di scrivere una sceneggiatura ascolto musica che in maniera astratta mi aiuta a comprendere quali emozioni voglio trasmettere nel film e a riempire quella famosa pagina vuota».

Alla proiezione di una scena di La La Land il pubblico applaude, e persino l’autore sembra commuoversi: «Quando qualcuno mi chiede perché non c’è un happy ending, rispondo che forse è perché penso che la vita sia così e il musical è un genere tutt’altro che frivolo. Prima c’è la dimensione del ballo e dell’immaginazione, poi arriva il ritorno alla realtà». Forse l’allunaggio di Neil Armstrong in First Man può sembrare un finale positivo, ma il regista osserva: «Se si pensa al percorso che ha portato alla conquista della Luna, siamo davvero sicuri che lo sia?».

Il giro d’Italia

Quest’anno Damien Chazelle è stato Presidente di Giuria al Festival di Venezia: da settembre non si è più mosso dall’Italia, che ha viaggiato in lungo e in largo nell’ultimo mese e mezzo. Dalla Laguna è passato a Napoli, poi a Roma e infine a Torino, dopo due giorni nelle Langhe con la famiglia. Infatti, il regista ha trascorso lo scorso weekend ad Alba alla ricerca del tartufo insieme alla moglie Olivia Hamilton, attrice statunitense che compare in molti dei suoi film, e ai loro due figli di 10 mesi e 4 anni.

Prima del grande giorno della premiazione, masterclass e proiezione, nei giorni torinesi Damien Chazelle ha alternato impegni ufficiali alla Mole Antonelliana e visite di piacere nella città sabauda. Durante il sopralluogo alla Mole Antonelliana, Chazelle ha accettato di partecipare ad un progetto fotografico di Riccardo Ghilardi e ha visitato privatamente la mostra Il mondo di Tim Burton. Lunedì pomeriggio si è recato per interesse personale al Museo dell’Automobile, prima di chiudere la giornata in compagnia dei vertici del Museo in un’enoteca del centro. Martedì sera invece era atteso tra il pubblico della Bohème al Teatro Regio, coronando idealmente il connubio cinema-musica che da sempre caratterizza la sua vita e il suo cinema.

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Edoardo Borghesio,
Redattore.

October 26, 2023
#42 Strade Perdute – Killers of the Flower Moon di Martin Scorsese

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LINK ALL’EPISODIO

In questo quarantaduesimo episodio di Strade Perdute, @alessandro_catana , @jacopo_barbero e il loro ospite dalla redazione @alberto_faggiotto analizzano ed esprimono il loro commento a caldo sull’ultima fatica del Maestro Martin Scorsese, ovvero Killers of the Flower Moon. Buon Ascolto!

Buon Ascolto! Scopri il mondo di Frames Cinema qui: https://linktr.ee/framescinema

October 25, 2023
The Zone Of Interest – Trailer del film premiato a Cannes targato A24

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Da poche ore è stato diffuso sui vari social il trailer ufficiale di The Zone Of Interest, film premiato a Cannes 2023 e targato A24, lo studio dietro film del calibro di The Witch, Hereditary e il più recente Talk To Me (di cui potete leggere la nostra recensione cliccando qui).

Il trailer non mostra molte immagini ma riesce perfettamente a darti quel tanto che basta per suscitare il tuo interesse senza rivelare tutto ciò che può accadere nella pellicola. Questo grazie anche alle critiche (estremamente positive) di varie testate famose, come The Hollywood Reporter o il Times, che vengono mostrate assieme alle immagini.

Trama ufficiale:

Un uomo e sua moglie tentano di costruire una vita in un luogo apparentemente da sogno, con una famiglia e una quotidianità perfetta, ma l’uomo in questione è Rudolf Höss, comandante di Auschwitz e la villa con giardino in cui vivono è situata proprio al di là del muro del campo di concentramento.

Nel cast troviamo Sandra Hüller (Anatomia di una caduta), Christian Friedel (Il nastro bianco) e Ralph Herforth (Agnese ed i suoi fratelli) a cui vengono affiancati attori e attrici alle prime armi.

Alla regia troviamo il britannico Jonathan Glazer che dopo aver diretto film come Under The Skin e Sexy Beast, firma il suo primo lungometraggio in una lingua diversa dall’inglese, infatti il film è stato diretto principalmente in tedesco con alcuni dialoghi in polacco.

La sceneggiatura è scritta da Glazer stesso ed è vagamente ispirata all’omonimo romanzo di Martin Amis, scrittore britannico venuto a mancare proprio il giorno in cui la pellicola è stata presentata in anteprima mondiale a Cannes.

Proprio a Cannes il film ha ottenuto il Grand Prix Speciale della Giuria, ovvero il riconoscimento più importante per un lungometraggio dopo la Palma D’Oro. Come detto precedentemente, la pellicola è prodotta da A24 e sarà distribuita da I Wonder Pictures nelle sale italiane a partire dal 25 gennaio 2024.

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Michael Pierdomenico,
Redattore news.

October 18, 2023